Sculpture involves the art of forming an object representing the relationship of a subject body to space. The sculpture conventionally is formed of hard material such as stone, metal, clay, plastic or wood, and may be formed directly upon a body of such material by carving, chipping or like processes. The conventional original sculpture is considered itself as a work of art. It is a static form and can be observed from many different angles. The observer can move about the work and gain many different impressions of the work from the many angles of observation. However, when the observer moves about the work of art, the work nevertheless remains static. The relative position of the work to the observer creates no unusual impression. The work remains immobile. Copies of the work made from impression molds of the work are identical to the work, true to the original in dimensional condition and proportional relationship.
In a quest for originality and novelty, there is a continuing search for new forms for sculptured objects. Novelty, originality, excitement, are signposts in the quest for such new forms. Of the possible new forms, forms which produce optical illusions have occupied the interests of many. One of the interesting optical illusions is the formation of three-dimensional images or illusions from planar displays, optical or otherwise. Efforts at producing such illusions of three-dimensional images from planar displays have utilized special eyecoverings or eyeglasses worn by the viewer. Stereooptical devices also have been suggested. Computer programs have been developed which project three-dimensional images on computer monitors, large and small, have been developed. Likewise, providing illusions of movement of images also have been limited to optically oriented proposals. Movement of objects have been obtained by projection techniques applying images to theater screens or animation techniques for filming and projection techniques . . . special effects technology. Simple solutions to the concerned problem have not been forthcoming.
Generally, the preferred methods for forming copies of sculptural works of art has involved casting techniques by which molds are formed from the original sculpture and the reproductions made using such molds. Often, the prepared mold can be used only once to produce a single reproduction. This technique is expensive and commercially limiting. Preferably, techniques are desired by which repeatably reusable molds would be prepared for multiple copies, particularly if the object to be duplicated is one that is readily marketable on a relatively mass-production basis.
Some prior art methods for making reproductions or castings have been tedious and have required considerable skill. These methods involve the formation of a plaster matrix from a sculpted precise model. Where the original sculpted model has complicated relief conformations with undercut portions, complex relief conformations and details, the prior art would suggest that a casing of plaster, clay or like material be built, spaced slightly from the sculpted model (which would be prepared with the precise proportional relationships existent to those of the true or living face, for example). A gelatinous material, such as gelatin, would be poured into the intervening space and allowed to set. When the gelatinous material has set, the plaster casing is cut into halves or small sections and removed from the original sculpted model. A considerable number of sections would be required to remove the entire set gelatinous form from the sculpted model. This process is time consuming, particularly due to the fragility of these sections.
After removal of these sections, they must be reassembled in the plaster casing to form the matrix mold so that the inner surface of the resultant casing is configured to correspond to the original sculpted model. Now, a mixture of plaster of Paris and water would be prepared, poured into the resultant lined casing and allowed to harden. The outer casing then is chipped away and the gelatin matrix removed. The inner piece of molded gypsum remains. However, all this process results in only a single mold prepared, destroyed and only one copy of the original sculpted model being formed and the mold is destroyed in the process.
In Elbogen, U.S. Pat. No. 1,902,627, a method is described for making casting molds which comprise employing latex employed over a sculpted clay model. One method disclosed is to apply latex over the clay model by repeatedly coating, dipping or spraying a latex solution over the clay model. After numerous repeated applications, the coating is allowed to dry and then stripped from the clay model. A plaster of Paris mixture is applied to cover the latex mold for permanence. Elbogen further suggests that after the latex solution has been applied to the clay model in quantity to provide sufficient thickness, the resulting latex coated model is dusted thoroughly with plaster of Paris and permitted partially to set. Water is withdrawn from the underlying wet latex coating and entire model is resprayed with latex and again dusted with plaster of Paris. Repeated applications of latex and plaster of Paris are effected with different relative amounts of latex and plaster of Paris being utilized from layer to layer in forming the multilayer laminate which is allowed to set. The careful layering of multiple layers with gradual changes in the relative amounts of latex and plaster of Paris from layer to layer, is tedious and time consuming. Further, removal of air bubbles, acquisition of surface smoothness and excessive time consumption would be disadvantageous.
Elbogen, U.S. Pat. No. 1,902,627, fails to utilize the completed latex/plaster result to form a casting mold for providing a positive or a negative impression carrying member which is used and reused further to provide castings carrying a positive or a negative impression of a clay model or even providing an impression carrying mold used to form second molds to provide plural copies of negative impression castings.
Johnson et al, U.S. Pat. No. 4,397,701, provides a method for making a mask. This method applying a molding material to a facial form to form the contours of the mask which are different from the facial form. Strips of plaster-impregnated gauze are applied to the molding material, dried on the form and the form removed. While wet, the gauze layer is manipulated to form desired contoured aberrations forming the outer surface of the mask product. The mask product is the concept result of the Johnson et al method and will not suffice as a casting mold. There is no concept or teaching in Johnson et al which would lead to the use of the mask product for the formation of a repeatably reusable master mold for forming castings.
No teachings have been located in the prior art which provided a sculpture capable of evoking a virtual three-dimensional image illusion when viewed in the presence of a light source and/or further includes the capablility of evoking apparent movement of selected features thereof following, and in the direction of movement, of the observer when viewed in the presence of said light source.